| Field Qualifications | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15 | 16 | 17 | 18 |
| 28-To comment concrete and abstract concepts through creative thinking. | 3 | 3 | 3 | 2 | 2 | 2 | 2 | 3 | 2 | 2 | 3 | 3 | 3 | 2 | 2 | 3 | 2 | 3 |
| 17-To participate effectively in project processes. | 3 | 3 | 3 | 2 | 2 | 2 | 2 | 3 | 2 | 2 | 3 | 3 | 3 | 2 | 2 | 3 | 2 | 3 |
| 1-To have knowledge about musical culture and aesthetical subjects. | 3 | 3 | 3 | 2 | 2 | 2 | 2 | 3 | 2 | 2 | 3 | 3 | 3 | 2 | 2 | 3 | 2 | 3 |
| 10-To attain the coherence in theory and practice. | | | | | | | | | | | | | | | | | | |
| 11-To use schools and techniques in music. | 3 | 3 | 3 | 2 | 2 | 2 | 2 | 3 | 2 | 2 | 3 | 3 | 3 | 2 | 2 | 3 | 2 | 3 |
| 2-To have knowledge about history of music. | 3 | 3 | 3 | 2 | 2 | 2 | 2 | 3 | 2 | 2 | 3 | 3 | 3 | 2 | 2 | 3 | 2 | 3 |
| 3-To have knowledge about musical materials. | | | | | | | | | | | | | | | | | | |
| 4-To have knowledge about schools and techniques in music. | 3 | 3 | 3 | 2 | 2 | 2 | 2 | 3 | 2 | 2 | 3 | 3 | 3 | 2 | 2 | 3 | 2 | 3 |
| 5-To have knowledge about legal regulations and proceedings in related field of art. | 3 | 3 | 3 | 2 | 2 | 2 | 2 | 3 | 2 | 2 | 3 | 3 | 3 | 2 | 2 | 3 | 2 | 3 |
| 6-To have knowledge about multidisciplinary interaction between music and relevant fields. | | | | | | | | | | | | | | | | | | |
| 7-To have appropriate knowledge about research methods. | 3 | 3 | 3 | 2 | 2 | 2 | 2 | 3 | 2 | 2 | 3 | 3 | 3 | 2 | 2 | 3 | 2 | 3 |
| 8-To have knowledge about methods in musical criticism. | | | | | | | | | | | | | | | | | | |
| 9-To have knowledge about ethics in music. | 3 | 3 | 3 | 2 | 2 | 2 | 2 | 3 | 2 | 2 | 3 | 3 | 3 | 2 | 2 | 3 | 2 | 3 |
| 12-To assess the interaction among sub-divisions in music. | | | | | | | | | | | | | | | | | | |
| 13-To have the skill to comment based on analysis. | | | | | | | | | | | | | | | | | | |
| 14-To develop a multi-facet ability to percept, consider, design and apply. | | | | | | | | | | | | | | | | | | |
| 15-To reflect the cognitive perception on the performance. | | | | | | | | | | | | | | | | | | |
| 16-To work adaptively and productive singly, independently and/or in a group. | 3 | 3 | 3 | 2 | 2 | 2 | 2 | 3 | 2 | 2 | 3 | 3 | 3 | 2 | 2 | 3 | 2 | 3 |
| 18-To share the works in music with society and to assess the results. | | | | | | | | | | | | | | | | | | |
| 19-To critize his/her works/studies. | 3 | 3 | 3 | 2 | 2 | 2 | 2 | 3 | 2 | 2 | 3 | 3 | 3 | 2 | 2 | 3 | 2 | 3 |
| 20-To think in an analytic and critical way. | 3 | 3 | 3 | 2 | 2 | 2 | 2 | 3 | 2 | 2 | 3 | 3 | 3 | 2 | 2 | 3 | 2 | 3 |
| 21-To internalize the concept of life-long learning. | 3 | 3 | 3 | 2 | 2 | 2 | 2 | 3 | 2 | 2 | 3 | 3 | 3 | 2 | 2 | 3 | 2 | 3 |
| 22-To share works/studies in music by defining the target group. | 3 | 3 | 3 | 2 | 2 | 2 | 2 | 3 | 2 | 2 | 3 | 3 | 3 | 2 | 2 | 3 | 2 | 3 |
| 23-To have the ability to communicate in order to tell the society about her/his works. | 3 | 3 | 3 | 2 | 2 | 2 | 2 | 3 | 2 | 2 | 3 | 3 | 3 | 2 | 2 | 3 | 2 | 3 |
| 24-To tell the experts or non-experts issues about music in an effective and correct way by resorting to the methods of audio-visual and written communication. | 3 | 3 | 3 | 2 | 2 | 2 | 2 | 3 | 2 | 2 | 3 | 3 | 3 | 2 | 2 | 3 | 2 | 3 |
| 25-To follow her/his field and to communicate with his/her colleagues by using a foreign language. (European Language Portfolio General Level: B1 Level) | 3 | 3 | 3 | 2 | 2 | 2 | 2 | 3 | 2 | 2 | 3 | 3 | 3 | 2 | 2 | 3 | 2 | 3 |
| 26- To use at least European Information Proceeding License and Advanced Level of software as well as informational and communication technologies. | 3 | 3 | 3 | 2 | 2 | 2 | 2 | 3 | 2 | 2 | 3 | 3 | 3 | 2 | 2 | 3 | 2 | 3 |
| 27-To be aware of the national and international values in music. | 3 | 3 | 3 | 2 | 2 | 2 | 2 | 3 | 2 | 2 | 3 | 3 | 3 | 2 | 2 | 3 | 2 | 3 |
| 29-To be sensitive to working/studying properly in the field of music. | 3 | 3 | 3 | 2 | 2 | 2 | 2 | 3 | 2 | 2 | 3 | 3 | 3 | 2 | 2 | 3 | 2 | 3 |
| 30-To have aesthetical awareness. | 3 | 3 | 3 | 2 | 2 | 2 | 2 | 3 | 2 | 2 | 3 | 3 | 3 | 2 | 2 | 3 | 2 | 3 |
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